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Joseph Albers: Homage to the square: on an early sky. National Gallery of Australia

Spitting Mad Jews and Angry Artists: Part 1

Dr Lasha Darkmoon

November 20, 2009

My article, The Plot Against Art, elicited an unprecedented number of emails. These came mostly from angry artists who believed that they had produced works of high quality that had been spurned by the art establishment. The artists who had achieved world fame, on the other hand, had in many cases done so only because they had produced decadent works of trash designed to deprave and corrupt the public: such as pornographic Madonnas, crucifixes offensively placed in urine, cans stuffed with the artist’s own excrement, and unmade beds with condoms and blood-stained panties conveniently scattered around as “significant” litter.

These puerile charlatans had set out to destroy traditional values, promote sexual perversion, mock Christianity, and, in general, create ugliness and despair — a sorry situation promoted by an art establishment that has been dominated since the early 20th century by Jewish art critics, collectors and dealers. This Jewish influence on art is of course in accordance with the openly declared aims of the Frankfurt School, a Jewish revolutionary movement dedicated to the destruction of traditional Western values — and indeed to the very people who live by those cherished values.

Unbelievable? Absolutely. If it weren’t unbelievable, it wouldn’t be true.

I ought perhaps to mention my reasons for discussing these emails in public. (With one exception, pseudonyms are used, because this was generally insisted on as the condition for publication. I also had to do some editing for style and brevity.)

First, I appear to have touched on a raw nerve without meaning to do so. While most articles to this site, my own included, seldom attract more than a handful of responses within the first few days, The Plot Against Art has given rise to a phenomenal 100 pages of emails, including one from Czech academic Paul Norrland who informs me that the Occidental Observer has made an impact among the intelligentsia of Prague. “I was very happy when I discovered TOO,” he confides, “and could read Kevin MacDonald’s Culture of Critique. I believe it is one of the most important works of this young century. I am sure its true impact is yet to come.”

Much to my delight, he told me he had just translated my article into his native Czech. To my dismay, however, I found I was unable to understand a single word of this gobbledegook. Talk about being Czechmated!

MIKE UPTON: Your analysis of modern art — and by extension, atonal music — is incisive and insightful. Thank you. It should be required reading for every college undergraduate but of course it won’t be, at least for the foreseeable future. How could we, the descendants of those who created the great Western culture, have been so thoroughly overpowered by a tiny, pathological and destructive minority? It defies belief.

DARKMOON: Many others have written to me expressing their outrage over the art scam. But it’s more than just art, as you know. The evils being practiced upon us extend to all areas of life. It’s a sad and sorry situation, but aren’t we ourselves to blame for letting ourselves be led by the nose over the precipice’s edge?

HILDA PRETTY: The Plot Against Art is one of the most revealing pieces of literature to detail organized Jewry’s implacable hatred of European culture I have seen. The many photo captions of obscene and hideous “art” along with the in-depth information detailing the immense Jewish involvement and influence on the Western art world, shocks and appalls. People will not soon forget it.

DARKMOON: Thank you for these kind words. They help to compensate for some of the abuse I have received.

MARQUIS DE FRANCE: Madam, I had the extreme displeasure of reading your vile essay on art yesterday. My valet brought me the printed version in bed, on my own instructions, carefully arranged on the breakfast tray beside the toast and marmalade. He omitted, however, to bring rubber gloves and pincers. You have a doctorate? From what university, pray? I think you are a charlatan, madam. Your essay is factually unsound and tendentious in the extreme. It made me feel quite ill just reading it. I am not Jewish, by the way, but I adore Jewish women — the most beautiful in the world. Your essay caused great distress to my Jewish girlfriend. She almost tore it up in her rage. She flung it across the room. “F*** this c***!” she screamed. If I knew your address, madam, I would track you down and give you the thrashing of your life. Marquis de France.

DARKMOON: The Marquis de Sade, I presume?

DAVID HOXTON: Your article on the prostitution of art to Jews is like a soothing melody. The composer Wagner made the same observation about the Jewish destruction of art by marginalizing true art which inspires to higher motives. Last weekend I presented some of my sculptures at an art show in Sacramento Ca. It was an art show in name only. For the most part, it was a combination of scramble figures on canvas and photographs in frames. I am so lonely here, all isolated as if I am the only artist who knows the truth. Please respond to this email, and give me some hope. I need a pat on the head like a lonely little puppy.

DARKMOON: I’m afraid an email from me is unlikely to put the world right. It will probably come as no consolation to you to learn that you are not the only person to have been victimized by the Jews of the art world. I have received dozens of emails from artists who feel desperate failures. They have struggled all their lives and their efforts have all been wasted. The beauty they offered the world has been scorned. This is because the arbiters of art — mostly a Jewish cultural elite — have decided that henceforth only ugliness shall be beauty. A mesmerized public has been brought, like blinkered horses to foul ponds, and forced to drink filthy water.

BENJAMIN TROTT: Good try, Darkmoon, but it won’t wash. Your essay seriously flawed. Idea that Jews have genetic defect that makes them lousy artists totally absurd. Many good Jewish artists around. Israel Shamir says Modigliani and Chagall, born Jewish, suddenly morph into brilliant artists after becoming Christian. You parrot this absurd view. Never heard such hooey. How can baptism make one more deft with a paintbrush? Back to the drawing board, Darkmoon.

DARKMOON: If I were to rewrite my essay, it would have to be more nuanced on this point. The idea that all Jewish artists, because of some inherent “visual deficiency”, are fundamentally inferior in artistic talents to non-Jewish artists, is simplistic. It needs to be modified. Apart from Modigliani and Chagall, other Jewish painters of note are Pissarro, Soutine, Max Ernst, Roy Lichtenstein, Tamara de Lempicka, Helen Frankenthaler, Lucien Freud. The top art forger of all time, Elmyr de Hory, was a Hungarian Jew. He forged so many Dufys that even the experts were fooled. They actually rejected genuine Dufys because they thought de Hory’s Dufys were the real thing! An artist needs extraordinary technical skills to perpetrate such consummate forgeries.

Two of de Hory’s forgeries. He is said to have produced over a thousand. Many a Modigliani, Monet, Matisse, Dufy, Derain and Picasso, hanging in private galleries right now, were in fact done by de Hory. It says little for the vaunted skill of the so-called “art experts” that they have been fooled so often by fakes.

Having said this, however, Israel Shamir’s excellent point that “Jews bend art to suit their abilities” has more than a grain of truth in it. Abstract painting largely caught on because inferior artists, many of them Jewish, found abstract art a piece of cake. Here are three abstract paintings which a zoologist friend of mine thinks a trained chimpanzee would have no problem painting:

Mark Rothko, ‘Light Red Over Black’, 1957; Oil on canvas (Saatchi Gallery)

Helen Frankenthaler, Magic Carpet, 1964, Acrylic on canvas.

Jules Olitski, Tin Lizzie Green, 1964.

The three artists above were all Jewish. They succeeded only because “Art had been bent to suit Jewish abilities.” (Israel Shamir). Witness also Joseph Albers’ endless variations on the same theme in Homage to the Square.

JORDAN DUBRAY: I was accepted at Yale university grad school for painting in 1968. The school had an unwritten rule. Each student had to paint in their assigned open cubicles. Those who refused to paint in those cubicles were all thrown out of Yale. This rule may have been started by Joseph Albers, right after he came from Germany and took up his position there as chairman of the grad school.

I believe that the faculty enforced this rule because some of them had been stealing ideas that grad students were in the process of developing in the open cubicles. The faculty were all very well known and had galleries representing them in NYC, and the unknown grad students provided a wealth of ideas for them. I know for a fact that some of the students’ work was far more creative than the tired crap most of the faculty was doing. Anyway, I needed privacy to do my work and so I decided to disobey the unwritten rule of painting in an open cubicle.

During the next two years one individual member of that faculty, a Jew, tried to find some weakness in my work. He was unable to do so. I admired the classical masters, I studied their work, I modeled myself on them, I attended all the classes and completed all the assignments — so there was nothing this Jew could do to get me expelled from Yale. I received my MFA in 1970, being the only person to graduate from Yale who had refused to abide by the university’s rule of painting in an open cubicle.

NOTE FROM DARKMOON: Jordan goes on to relate his subsequent adventures as a struggling artist in the Jewish-dominated art world. The slights and humiliations he was to receive at the hands of this Jewish “art mafia” could fill an entire book. Indeed, they did fill an entire book — for Jordan was to write it himself, taking seven years to do so. Unfortunately, Jordan was unable to find a publisher. In 1971, an exhibition of his paintings was held at the school where he worked. The curator of the Whitney Museum happened to be there. He was sufficiently impressed to offer Jordan the unique opportunity of showing two of his major paintings at the coming Whitney Biannual exhibition. Jordan was delighted. Recognition at last! Alas, it was not to be. Jordan’s dreams were soon to turn to dust.

By sheer chance, a member of the Yale faculty had visited the Whitney Museum and badmouthed Jordan to the curator, Robert Doty. Doty broke off all communication with Jordan. Suddenly, Jordan’s paintings were no longer welcome at the Whitney. No reason was offered for this bizarre U-turn, but it is easy enough to speculate what must have happened. One Jew had poured his venom into the receptive ear of another. “Don’t show this man’s work! He’s a known anti-Semite!”

When Jordan attended the Whitney exhibition a bit later, he was to find that the wall space originally assigned to him had been allocated to a Yale art faculty member. Several years later, he was to learn the identity of the man who had been spreading calumnies about him.

JORDAN DUBRAY: After 23 years, in 1993, I was told the name of the man who had been slandering me to the art galleries. Who had got me blacklisted. It was the Jew I previously referred to — the man who had been a constant thorn in my flesh at Yale. This man had the most power on that faculty and, I believe, the least talent. But it was easy to see that he was a cruel and vicious individual. The students even tried to get rid of him and many of us signed a petition to have him removed from Yale. We all believed he was incompetent and a danger to the students there. But it didn’t work, and he remained there longer than any other member of their faculty.

I went into a terrible rage soon after I received information that I had been blacklisted. I could not focus on my painting any longer, so I decided to do an investigation of what it was all about and find out who exactly was involved. And so I did an investigation lasting about 7 years, then I also wrote a book about the whole experience. But it has remained unpublished to this day. Yale was later to buy an old Jewish Synagogue and place the Yale graduate art school in that building. A fitting place for that school, don’t you think?

DARKMOON: I am shocked to hear all this. Truly shocked. There’s nothing I can really say…

JORDAN DUBRAY: I’ve learned that practically everything in this world is basically upside down. I couldn’t stop these people from sabotaging my career, from doing all they did to injure me, but I guess it gave me an interesting story to tell…

DARKMOON: That’s why I’m telling it.

JORDAN DUBRAY: I believe your important essay has helped me to see things in a new light. Have I failed as an artist? Maybe. But not as a man. To refuse to be part of this evil trade is to succeed. To be embraced by them, however, and rewarded with riches after selling one’s soul to the devil — that is to fail in life. And so I send you my blessings, Lasha Darkmoon.

DARKMOON: Goodbye, dear Jordan. Words fail me at this point. Let me offer you these ancient words of wisdom as a parting gift: What doth it profit a man if he gain the whole world and suffer the loss of his own soul?

ANTHONY HILTON (retired Professor Of Psychology, Concordia University, Montreal, and frequent contributor to TOO): Here’s a thought I’ve had concerning ethnicity and art. It is that the Jews themselves seem to be genuinely fond of the psychology of Sigmund Fraud [sic] as well as the type of “art” favoured by the Jewish art establishment. To the extent that this is true, it would mean we’re dealing not so much with a deliberate attempt to undermine WAS(P) culture but rather with a cultural incompatibility — accompanied by a normal human tendency to assert dominance over any domain the Jews happen to like. There could even be an element of “altruism” in it — a bit like garlic lovers proselytizing their food tastes.

DARKMOON: I won’t disagree with you. Your garlic metaphor is particularly apt. Pathological liars, sooner or later, come to believe their own lies. I’m sure there was an element of that in Bush and Blair when they plotted the destruction of Iraq and were looking for an excuse for genocide. I’ve just read a comment today on another site, where someone says you have to hand it to the Jews that they’ve managed to take over the world — mass media, politics, finance, the judiciary, academia et al — on a miniscule 0.2 per cent of the world’s population. His conclusion? Maybe they deserve to rule the world, being so smart and superior. Maybe we ought to sit back and let them get on with it. Who knows, he muses, they may be doing all this for our own good — out of sheer altruism! Point to ponder: is this Animal Farm? Are we like cattle being coddled and cared for by the People Farmers?

DARKMOON: [unsent email to Anthony Hilton, Nov. 12, 2009]: Benjamin Netanyahu, Prime Minister of Israel, claimed that Jews had invented ideas like human rights and universal peace. He concluded his speech by stating, “we are a small people but a great people; a people generous enough to pave a path toward a lasting peace; a people brave enough to thwart the dangers that confront us; and a people creative enough to once again help steer humanity towards a better future for all. By a curious coincidence, it bears out what you said earlier about possible Jewish “altruism” — they are doing things like dispossessing the Palestinians for the good of humanity. It also echoes my own comment about the Jews in their role of “People Farmers”: Superior people that they are, they are steering humanity in the proper direction — over the precipice’s edge.

I should like to conclude this discussion by suggesting that if Jews continue to behave in a provoking manner, as they have for centuries, anti-Semitism is inevitable. Dismissing the irrelevance of the Protocols as a source of anti-Semitism, Israel Shamir says: “Arabs have no need to import anti-Semitic arguments from old and far-away sources, provided they have a fresh round-the-clock local source: actual behaviour of the Jewish state and its Jewish citizens.” (My emphasis).

DARKMOON (Final email, to an artist friend who is also a cartoonist): Here are two political cartoons — a potent art form in its own right — that say more in one smack of the eye than a thousand words can:

Steve Bell, acclaimed Guardian cartoonist, won the British Political Cartoon Society 2003 Award with this cartoon depicting Ariel Sharon devouring babies. The usual suspects were incensed and Bell was stigmatized as an anti-Semite.

Finally, here’s one of my favorites: a cartoon with a witty nursery rhyme added as a special bonus.

Steve Bell cartoon, The Guardian, 02/18/2004

Land-grabbing Izzy built a Great Wall,

Land-grabbing Izzy had a Great Fall.

All America’s armies, missiles and men

Couldn’t put Izzy together again!

— Unknown Poet

Prophetic? Time will tell.

Go to Part 2 of this article.

Dr. Lasha Darkmoon (email her) is an academic, age 31, with higher degrees in classics. A published poet and translator, she is also a political activist with a special interest in Middle Eastern affairs. ‘Lasha Darkmoon’ is a pen name.

September 19, 2009

“Never before have so few been in a position to make fools, maniacs or criminals of so many.”

HG Wells, The Shape of Things to Come.

I’ll begin with a confession: I am a failed artist. Ever since I can remember, I have wanted to paint. The only thing that stopped me was lack of talent. The first time I did a self-portrait, checking with the mirror in my bedroom to see how I was getting on, my mother put an abrupt end to my artistic ambitions by exclaiming, “Gosh, what a cute little chimp!”

It was a rude awakening for a nine-year-old artist.

About a decade later, I asked myself was art was all about. One day I found this sentence in a biography of Burne-Jones, and I jotted it down in my diary and pondered it for a day or two, “I mean by a picture a beautiful romantic dream of something that never was, never will be — in a better light than any light that ever shone — in a land no one can define or remember, only desire — and from forms divinely beautiful.”

Waterhouse, The Lady of Shalott, 1888.

Art as it used to be, when painters knew how to paint. This would now be considered kitsch.

When I read that sentence, I almost fainted. I was a sensitive girl, given to fits of swooning at the slightest opportunity. It was then I realized there was no real difference between poetry and painting, between painting and music. All, in their own ways, sought for God — albeit a God who might not exist — but a God nonetheless. God was beauty. God was longing. God was the fire in the rose.

That’s what I thought then. I was young and foolish.

Art, I found out later, was about making money. Organized Jewry taught me this. Art dealer Paul Rosenberg says, “A painting is only beautiful when it sells.” Jewish president of the Marlborough Gallery, Frank Lloyd, confirms this: “There is only one measure of success in running a gallery: making money.”

The question we need to ask is: Who runs the Art Market and how did it become a freak circus?

Art Should Make You Miserable

Let’s take a little trip round the art world with Israel Shamir. Mr Shamir, after all, is not only well-informed about art but is also a tour guide in Jerusalem. He agrees with me about the sacral nature of art. “No art without Christ,” he says. By “Christ” he means much more than the historical Jesus. He means the Logos, or Christ Principle, the rule of law in a divinely ordered universe.

Since Darwin and Freud, there has been a complete “revaluation of all values.” Everything has been turned upside down. We can mostly attribute this parlous state of affairs to the machinations of organized Jewry, in particular to a group of revolutionary thinkers known as the Frankfurt School. (For a detailed introduction to the ideas of these neo-Freudian Marxists, most of whom were Jewish refugees from Hitler’s Germany who fled to America, see Chapter 5 of Kevin MacDonald’s The Culture of Critique).

Just as one of these Frankfurters, Theodor Adorno, set out to destroy Western music, assuring the world that atonal music was a good thing because it was discordant and ugly, others in the group set out to destroy art and push it to its reductio ad absurdum: lights going on and off in an empty room, unmade beds with condoms and bloodstained panties strewn around, and sealed cans containing the artist’s own excrement.

Tracey Emin’s My Bed

Piero Manzoni’s Artist’s Shit

One of the founders of the Frankfurt School, Georg Lukács, asked rhetorically, “Who will save us from Western civilization?” He began the rescue operation himself, convincing himself that the best way to do this was to create “a culture of pessimism” and “a world that has been abandoned by God.” Cool.

Another of these mental giants, Walter Benjamin, believed that the purpose of art was to make people as miserable as possible, for pessimism was an essential preliminary to world revolution. “To organize pessimism,” he pointed out portentously, “means nothing other than to expel the moral metaphor from politics.” Benjamin succeeded only too well in making himself miserable. He committed suicide.

Marxist revolutionary Willi Munzenberg made no bones about his mission in life. It was to destroy Western civilization. No kidding. To accomplish this, he said, the Frankfurters would have to “organize the intellectuals and use them to make Western civilization stink. Only then, after they have cor­rupted all its values and made life impossible, can we impose the dic­tatorship of the proletariat”. (My italics).

To summarize: Let’s create a culture of pessimism. Let’s make Western civilization stink. Let’s create a godless world and drive people to despair. Let’s corrupt society’s values and make life impossible. In short, let’s create hell on earth.

It will soon become clear to you, if you are a struggling artist, that the art world is dominated by Jews who are only too anxious to bring about this hell on earth. Their control over what now passes for art is as tentacular as it is terrifying. Art has morphed into Anti-Art. “For Jews,” Israel Shamir points out, “their group interest lies in undermining visual art, for they can’t compete with it. Even deeper group interest is to undermine Christianity, their main enemy.”

To undermine. To corrupt. To create discord. To drive crazy. To destroy. Verbs to remember. Let’s begin our tour of the art world, with Israel Shamir as our guide, and try to gain an insight into what is going on.

Gallery Hopping With Mr Shamir

One day, Shamir finds himself in the Basque capital of Bilbao in Spain. He has come to check out the museum of modern art built by the fabulously rich (Jewish) Guggenheim family. The biggest building in Spain, the Guggenheim Museum impresses Shamir profoundly — it’s like something out of a science-fiction movie — but once he steps inside the building he is acutely disappointed.

Hey, what on earth is all this junk? Pieces of corrugated iron lying around like in a scrap yard. Rusty iron plates in one corner. Video screens blinking away inanely. Bare geometric forms. And, believe it or not, an entire floor devoted to a collection of Armani suits. Boy, I’m outa here! Shamir mutters to himself, making a beeline for the Exit.

And what does he do next? He hops on a plane to Venice, and now we see him poking around the famous Biennale Museum, trying to make sense out of a collection of trashed cars on display. Mopping his brow feverishly, he needs to sit down to collect his wits. No, don’t sit there, sir — those chairs are a precious work of art! You want to read a good book, Mr Shamir, to take your mind of all this junk? No problem. Here’s a bookcase full of books. Help yourself. Or rather, don’t help yourself! This bookcase, crammed with moldy old books, is also a sublime work of art! Yes, all the way from sublime, artistic Israel!

One might have thought that, after suffering all these disappointments, Mr Shamir would have packed it in and gone back to Jaffa, determined never to set foot in an art gallery again. But no, a glutton for punishment, our art guide now decides to visit a museum in Amsterdam where he is confronted by a collection of decomposed pig trunks. To his astonishment, he learns that a cadaver immersed in formaldehyde, on display in this same museum, has been purchased for $50,000 by a rich American. Wow, a corpse collector!

His disillusionment is total when, on visiting Copenhagen, he finds himself in the church of St Nicholas. Being a convert to Christianity, maybe he goes in there to pray. If so, he is saddened to have his mind polluted by the pictures he sees on the walls of that venerable old church. Here’s a color photograph of a naked old woman, withered and sick. And here, right next to it, is a huge blown-up picture of the female genitalia. And what’s this? Oh, nothing to worry about! Just a photo of a couple of guys having oral sex. Hey man, c’mon! This is a healthy and natural act! What better place for the celebration of joyous pagan sexuality than a Christian church?

“Whatever they proclaimed as art, was art,” Shamir concludes ruefully. “In the beginning, these were works of some dubious value like the ‘abstract paintings’ of Jackson Pollock. Eventually we came to rotten swine, corrugated iron, and Armani suits. Art was destroyed.” [My italics.]

The Jewish Connection

So what does all this have to do with the Jews? Plenty. If you want to play that fascinating game known as Cherchez le Juif, let’s continue our tour of the contemporary art world.

You will meet many artists, quite a few of them pliant and accommodating non-Jews, who are prepared to jump through the hoops set before them by their Masters: the ubiquitous Jews lurking in the shadows. The men who call the shots. The men with the money. The men whom the artist must learn to please and flatter if he hopes to get ahead and become rich and famous.

The ambitious artist will find himself drawn inevitably into a Jewish world. He will learn to pepper his conversation with Yiddish phrases. He will never breathe a word of criticism against Israel, no matter what atrocities that country is in the process of committing. He will sneer at Muslims, the Qur’an and the Palestinians. He will find it pays dividends to insult Christianity, the religion of his forefathers. He will mention the Holocaust, whenever possible, with moist eyes; and he will paint as many pictures of Auschwitz as he can, preferably with chimneys belching black smoke.

All this has been done by goy artists. The proof for these claims can be found here in this enormous archive of art information. I have drawn upon it heavily.

Even the great Picasso knew he was appeasing the Jews when he embraced his friend Pierre Daix and confided in a low voice, “To think that painters once thought they could paint The Massacre of the Innocents!” He was clearly echoing or anticipating Adorno’s “There can be no poetry after Auschwitz.” If there can be no poetry after Auschwitz, there can be no art either — certainly not Christian art.

Andy Warhol knew better than most how to ingratiate himself with the Jews. His 1980 series, “Ten Portraits of Jews of the Twentieth Century,” features ten portraits of what Warhol referred to as “Jewish geniuses,” one of whom was Israeli Prime Minister Golda Meir — the “genius” who said there were no Palestinians, adding with her famous flair for the witty phrase: “How can we return the occupied territories? There is nobody to return them to.” Another “genius” was Sigmund Freud, whom Kevin MacDonald has described as having perpetrated the greatest scientific fraud of the 20th century — a fraud that was very useful in constructing the culture of Western suicide.

Warhol’s portraits of Gold Meir and Sigmund Freud, from his Ten Portraits of Jews of the Twentieth Century series

Warhol seems to have put his considerable charm to work with Henry Geldzahler, curator of the Metropolitan Museum of Art — an influential Jew who happened, like Warhol, to be homosexual. “Although they were never lovers, the relationship became intimate,” we are assured by one of Warhol’s biographers. “Andy spoke to Henry on the phone every night before he went to sleep and every morning as soon as he woke up.” I am not saying that Warhol and Geldzahler were lovers, though others have said so. That’s of no interest to me. All I’m suggesting is that Warhol, a notorious opportunist, found it helped his career to cultivate the Jews. His appeal, in the words of film critic Carrie Rickey, was to the “synagogue circuit.”

Transvestite potter Grayson Perry — here he is receiving the Turner Prize for his inspired pots — knew his success depended less on his talents than on the advertising genius of his plutocratic patron Charles Saatchi. He was well aware, moreover, that Islamophobia can always be relied on to win friends and influence people in the Judeocentric art world. “The reason I haven’t gone all out to attack Islamism in my art,” he confides fearlessly, “is because I feel real fear that someone will slit my throat.” Avoiding controversial political statements in the interests of discretion, Perry decided to devote his life to producing ceramic pots depicting “explicit scenes of sexual perversion.” It must have been a tough decision.

The potter wore bobbysox … Grayson Perry poses with his wife Phillippa and daughter Flo after winning the Turner Prize.

Non-Jewish artists such as Anselm Kiefer, Christian Boltanski and Christopher Williams have been almost as prolific in their production of Holocaust paintings as Jewish painter RB Kitaj, a man whose obsession with Auschwitz has often been noted. “The chimney in a Kitaj painting,” art pundit Juliet Steyn informs us, “functions as an indictment on Christianity.” Translation: After Auschwitz, who needs Golgotha?

RB Kitaj’s Passion (1940–45): Cross and Chimney

Entrance through the Gate Exit from the Chimney by Joseph Bau

As for Andres Serrano with his Piss Christ and Chris Ofili with his dung-bedecked Holy Virgin Mary — the Madonna surrounded by pictures of the female genitals cut from pornographic magazines — both these emotionally immature artists were clearly aware that contempt for Christ and his mother is often pleasing to the Jews.

Chris Ofili’s Holy Virgin Mary and Andres Serrano’s Piss Christ

Artists? These men are more like circus dogs, trained to jump through hoops and beg for bones from their masters. It’s the men with the money, the Saatchis and the Guggenheims, who crack the whip.